아리랑 영화들에 나타난 내셔널 시네마적 특성 연구 = The Characteristics of Korean National Cinema: A Progressive Investigation of the Remakes of Arirang

다국어 초록 (Multilingual Abstract)

This paper reveals some characteristics of national cinema as reflected in the various remakes of the film Arirang. To begin with, the concept of Korean National Cinema is somewhat similar to that of an ``ethnic film``. Nonetheless, the idea cannot be narrowly applied to the ethnic film and specific conditions of 1980s Korea. National cinema contains two points of view. One is a more introspective angle which ponders the sense of Korean nationhood. From this angle, the nation`s past, present, future, its cultural heritage, indigenous traditions, shared identity and continuity can be seen. The other is a more externalized point of view which regards how national cinema is different from the other ethnic film of other cultures by looking outside Korea and considering cross-over between boundaries. The stance of this article gradually shifts from the introspective to the externalized perspective. Na Woon-gyu`s Arirang (and other remakes) may be regarded as the origin of national cinema. From here I identify the issue of national resistance during the years of colonial oppression and the tears shed for homeland recognition. This sentiment is reflected by ideas such as ``the whole land of Korea`` and ``Arirang Gogae`` while the feeling is best proximated by the English word ``sorrow``. Still, it remains an elusive concept to pin down. The multifaceted nature of the term is reflected in that every cinematic remake of Arirang addresses a somewhat different characteristic of the word. Consequently, this study draws out the aspect of homeland from Arirang-A, the aspect of the Diaspora from Susanne Brinks` Arirang, and the expression of the sorrow of the people (as it emphasizes contemporary elements) from Guro Arirang. It concludes by identifying the genesis of the externalized shift of national cinema as Kim Kiduk`s Arirang. This remake relates an expression of individual sorrow, as opposed to the historical enactment of collective sorrow, and finds a wider audience from the base of the International Film Festival. This article narrows its focus to the characteristics of national cinema drawn from Arirang films. It is hoped that similar exploratory discussions will identify more characteristics of national cinema as time goes by, and that they will contribute to the continuing global debate on ethnic films.

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